Notes of Interest

Course Descriptions
The following course descriptions have been written by
individual instructors to provide more detailed information
on specific
section sthan that found in the General Catalog. When individual
descriptions are not available, the General Catalog descriptions
[in brackets] are used. (Although we try to have as accurate and complete
information as possible, this schedule remains subject to change.)

Add Codes
English classes, 300-level and above, require instructor
permission for registration during Registration Period 3 (beginning
the first day of classes). If students have not registered for a class
prior to the first day, they should attend the first class meetings and/or
contact the instructor to obtain the necessary add codes.

First Week Attendance
Because of heavy demand for many English classes, students
who do not attend all reguarly-scheduled meetings during the first
week of the quarter may be dropped from their classes by the department.
If students are unable to attend at any point during the first week,
they should contact their instructors ahead of time. The Department requests
that instructors make reasonable accommodations for students with legitimate
reasons for being absent; HOWEVER, THE FINAL DECISION RESTS WITH THE
INSTRUCTOR AND SPACE IS NOT GUARANTEED FOR ABSENT STUDENTS EVEN IF THEY
CONTACT THE INSTRUCTOR IN ADVANCE. (Instructors' phone numbers
and e-mail addresses can be obtained by calling the Main English Office,
(206) 543-2690 or the Undergraduate Advising Office, (206) 543-2634.)

Upper Division (400-level) creative
writing courses
Admission to 400-level creative writing courses is by
instructor permission. To receive an add code, prospective
students must fill out an information form available in the Creative
Writing office (B-25 PDL), present copies of their transcripts verifying
that they have taken the appropriate prerequisite classes, and turn
in a writing sample for instructor screening.

Senior Seminars
ENGL 497 (Honors Senior Seminar) and ENGL 498 (Senior
Seminar) are joint-listed courses; students choose which number
to sign up for depending on their individual status. ENGL 497 is
restricted to senior honors English majors taking the additional
senior seminar required for the departmental honors program. Add
codesfor ENGL 497are available in the English Advising
office, A-2B Padelford. All other senior English majors should
sign up for ENGL 498. Neither ENGL 497 nor ENGL 498 can be taken more
than once for credit.

452 A (Topics in American Literature)
TTh 1:30-3:20
BraunAdded 8/14; sln: 9363Yiddish Culture in America. This course is designed as an
introduction to Yiddish culture in America. Students will become familiar
with the poetry, short stories, journalism, and film produced in Yiddish
in America, with specific attention to the social context in which this
culture was produced. We will examine the range of responses Yiddish-speaking
writers and artists had to America and explore the role of the Yiddish press
as an Americanizing agent, the transformation of Yiddish into a literary
language, and how film created new cultural possibilities. We will observe
how Yiddish poets confronted a radically different (and rapidly changing)
physical landscape as well as an ethnically diverse population. We will
also examine perceptions of Yiddish by American scholars and intellectuals.
How have attitudes toward Yiddish shifted since the Holocaust? What new
subjects emerge in Yiddish literature after the Holocaust? What associations
continue to adhere to Yiddish in the 21st century? The course will be balanced
between instructor lecture and student discussion of the assigned readings.
Careful reading of the assigned texts, attendance and active participation
in class important. Weekly reading assignments; one short and one
long analytical essay; mid-term examination. Grades will be assigned
on the basis of essays, examination, and class participation.
Cross-listed with SISJE 490A; instructor is Hazel D. Cole Fellow,
Alisa Braun. Texts: Singer, Gimpel the Fool and Other Stories;
Howe, ed., Treasury of Yiddish Stories.

471 A (The Composition Process)
MW 1:30-3:20
Browningsbrownin@u.washington.edu
[Consideration of psychological and formal elements basic to
writing and related forms of nonverbal expression and the critical
principles that apply to evaluation.] Add codes available
in English Advising, A-2B PDL.

473 A (Current Development in English Studies)
TTh 1:30-3:20
Stygallstygall@u.washington.eduLanguage and Gender. This course will examine
current work on the intersection of language studies with gender in
its complex manifestations. Drawing from feminist linguistics,
we’ll begin with Deborah Cameron and Don Kulick’s Language and Sexuality
and then work through two collections of readings. We’ll work on
a variety of empirical projects, using the methods of discourse analysis
and critical sociolinguistics. I’ll provide the background in discourse
analysis and sociolinguistics for those without previous linguistics or
English language coursework. We’ll ground and frame the empirical
projects with some additional readings in theory. Course requirements
include reading responses; one empirical paper, and one theoretical paper,
to be combined into a final course paper; and a brief classroom presentation.
(Cross-listed with WOMEN 490C.)Texts: Cameron,
Deborah, and Don Kulick, Language and Sexuality; Johnson,
Sally, and Ulrike Hanna Meinhof, Language and Masculinity; Bergvall,
Victoria L., Janet M. Bing, and Alice F. Freed, Rethinking
Language and Gender Research: Theory and Practice.

474 A (Special Topics in English for Teachers)
MW 2:30-4:20
Decker
teagan@u.washington.edu
Writing Center Tutor Training. This class presents an opportunity
for students to expand their writing abilities and to learn how to
help others with their writing – while getting paid! The Dept. of
English Writing Center is looking for experienced students to enroll
for Autumn 2003. Students iwll have the opportunity both to read and
write about various approaches to tutoring writing, as well as to practice
tutoring through conferencing and observation. Then, starting in November,
students will have the chance to get hands-on experience tutoring in
the English Writing Center. Students will be paid for this tutoring.
N.B.: ENGL 474 does not satisfy English major requirements; it functions
purely as a general elective toward the 180 total credits required for
graduation. Add codes available from instructor (Writing Center,
B-12 PDL).

479 A (Language Variation and Policy in North America)
TTh 11:30-1:20
Guerrajguerra@u.washington.edu
Once we establish a working knowledge of the structure and
function of language, this course will examine the social,
cultural, and economic
forces that have led to the emergence of language variation based on region,
gender, race, ethnicity, and class. Special interest will be paid
to on-going discussions about the place of bilingualism and bidialectalism
in home, community, and school settings. We will then explore the
ways in which both informal and institutionalized forms of linguistic discrimination
affect the degrees of access to education, the labor force, and political
institutions available to members of various groups in our society.
Finally, in light of the “new immigration” (i.e., the post-1965
immigration of non-European peoples to this country), we will pay special attention
to the impact of both the English Only and the English Plus movements on
second-language speakers and learners living in the United States.
Texts: Rosina Lippi-Green, English with an Accent;
Walt Wolfram & Natalie Schilling-Estes, American English.

491 A (Internship)
*arrange*
Supervised experience in local businesses and other agencies.
Open only to upper-division English majors. Credit/no credit
only. Add codes in English Advising office, A-2B PDL.

492 A (Advanced Expository Writing Conference)
*arrange*
Tutorial arranged by prior mutual agreement between individual
student and instructor. Revision of manuscripts is emphasized,
but new work may also be undertaken. Instructor codes in English
Advising office, A-2B PDL.

493 A (Advanced Creative Writing Conference)
*arrange*
Tutorial arranged by prior mutual agreement between individual
student and instructor. Revision of manuscripts is emphasized,
but new work may also be undertaken. Instructor codes in Creative
Writing office, B-25 PDL.

494 A (Honors Seminar)
TTh 2:30-4:20
Reedbmreed@u.washington.edu
Fifties New York. During the 1950s, New York supplanted
Paris as the center of the international artworld. This transition
coincided with the emergence of a new aesthetic that quickly became
known as “postmodernism.” This seminar will serve as an intensive
introduction to this extraordinary moment in U.S. cultural history.
We will be looking at novelists (Bannon, Sorrentino), poets (Ashbery,
Baraka, Corso, Ginsberg, O’Hara), intellectuals (Greenberg, Kenan, Sartre,
Steinberg, Trilling), composers (Cage, Feldman), and visual artists (Pollock,
Johns Rauschenberg). Other likely topics include underground cinema
(Anger, Brakhage), Happenings (Kaprow), and bebop (Parker, Davis, Coltrane). There
will be two required essays; berets and espresso will be optional. Department Honors students only.Texts: Ann
Bannon, Beebo Brinker; John Cage, Silence; Gilbert
Sorrention, Imaginative Qualities of Actual Things; optional:
LeRoi Jones (Amiri Baraka), Blues People.

495 A (Major Conference for Honors in Creative Writing)
TTh 11:30-1:20
Bierdslbierds@u.washington.edu
Special projects available to honors students in creative writing.
No texts. Required of and limited to honors senior majors in creative
writing emphasis. Add codes available in English Advising, A-2B Padelford.

497/8 A (Honors
Senior Seminar/Senior Seminar)
MW 9:30-11:20
Halmi
(W)nh2@u.washington.edu
Freud and/as Fiction. A consideration of Freud's relation
to literature, both in his use of literary texts and in his exploitation
of literary techniques and forms. Primary readings will be a
handful of seminal Freudian texts on dream interpretation, sexuality,
and culture, as well as at least one case history; ancillary readings
will include some literary texts of particular importance to Freud (e.g., Oedipus Rex, Hamlet)
and some theoretica texts on Freud and fiction (e.g., by Sarah Kofman and Malcolm
Bowie). The course will
be concerned not with psychoanalytic literary criticism per se, but with
Freud's use of literature in the formulation of his theories. No
prior knowledge of Freud will be assumed, but a knowledge of Sophocles's Oedipus Rex and some Shakesperean tragedies (Hamlet, Macbeth,
Lear, Othello) would be helpful. Class web site: http://faculty.washington.edu/nh2/classes/497-03.htmTexts: Freud, Writings on Art and Literature; Dora; Interpretation
of Dreams.

497/8 B (Honors
Senior Seminar/Senior Seminar)
MW 10:30-12:20
Mandaville
(W)amandavi@u.washington.eduComics Literature. Comics have long been considered
a “low” cultural art form. In this course, we consider comics as
a genre worthy of academic attention. The course offers a whirlwind
history of comics: early forms of writing in ancient times, medieval illuminated
manuscripts, political satire and caricature, and contemporary comic strips
and graphic novels. The ways in which the interaction of pictures
and words produces effects special to this genre will shape our investigations.
We engage in focused study of a relative explosion of late twentieth-century
graphic novels globally. We will read texts by comics writers from
around the world – including Japanese, New Zealand, American, and Iranian
– about topics and themes as varied as the WWII holocaust, the first Palestinian
Intifada, Lesbians and the media, Serbia/Bosnia/Croatian war, racism, the
Iranian revolution, incest, apocalypse, and, of course, crimefighting.
Questions of race, class, and gender, and colonialism inform this exploration
of a genre that is popularly classified as being a western “white-boy” thing.
Readings include both literary and critical texts. We will make at
least one field trip to view the wonders of comics-related materials in the
Suzallo Special Collections. Assignments include response papers, a
creative project and presentation, and a critical research paper and presentation.
Please read Scott McCloud’s Understanding Comics before the
first day of class.

497/8 C (Honors
Senior Seminar/Senior Seminar)
MW 11:30-1:20
Lane
(W)cgiacomi@u.washington.edu
British Literature on Film. This class will examine
the theory and practice of film adaptation. Students will encounter
British literary works in both book and film forms. Assignments involve
completing close readings of books and films, giving oral presentations,
applying adaptation theory, and designing a film adaptation.
This is a Computer-Integrated Course. Class sessions alternate
between a computer lab and a seminar-style classroom. Web design
is a component of several assignments--basic design skills will be taught
in class. There will be three or more evening film screenings.
Films will be on reserve in the Odegaard Media Center for those unable
to attend the screenings. Books and Films:A
Room With a View, Frankenstein, Mansfield Park, Heart of Darkness, Apocalypse
Now, and A Christmas Carol.

497/8 D (Honors
Senior Seminar/Senior Seminar)
MW 12:30-2:20
Liu
(W)Double Consciousness in 20th-Century American Culture.
Beginning with the early 20th-century roots of double consciousness
in W.E.B. DuBois’ analysis of African American thought, we will then
explore how the metaphor of a dual consciousness has manifested in radical
feminist thought, masculinity studies, Chicano and Asian American literary
criticism, and popular psychology. A sampling of writers and texts to
be included are: W.E.B. DuBois, Gloria Anzaldua, Luce Irigaray, Stanley
Sue, Frank Chin, The Three Faces of Eve, Chuck Palahniuk,
and Richard Condon.

497/8 E (Honors
Senior Seminar/Senior Seminar)
MW 1:30-3:20
Popov
(W)nikolai_popov@hotmail.com
Ulysses. This seminar is an introduction to James
Joyce’s Ulysses as the summit of literary modernism.
You will review Joyce’s Irish and European contexts, study Joyce’s methods
of composition, and revel in his comic transvaluation of all novelistic
values, styles, and humors. A portion of each meeting will be
devoted to the musical “subtext” in Ulysses; opera, Irish
street ballads, and turn-of-the-century music-hall favorites. Desiderata: inkling’s of Joyce’s early work, intimacy with Homer’s Odyssey,
interest in sly uses of language. Students interested in the
poetics of the novel (Cervantes, Rabelais, Defoe, Swift, Sterne) are
encouraged to enroll in ENGL 329A. Requirements: five
or six brief assignments and a course project involving independent
research and resulting in a final paper (15-20 pages). Texts:
James Joyce, Ulysses; A Portrait of the Artist as a Young Man.

This course not only will say so, it takes the statement as its opening
premise. Boredom is as familiar an experience as it is alien
to an expressive vocabulary. We will place boredom in different
cultural and historical contexts: are there differences between ennui,
the blasé, understimulation, acedia, world-weariness, and a case
of the yawns? We will read literary texts that treat the topic
thematically, as well as critical assessments of the phenomenon, ranging
from sociological to psychological accounts. Even while attempting
to synthesize an account of the experience, we will practice close reading
in the spirit of distinguishing what particularly is at stake in each
artist's or writer's depiction. Regardless of the mimetic fallacy,
the course is reading and writing intensive. Students should be
close readers, and bring their own coffee. Texts will include
Chekhov, Samuel Beckett, Andy Warhol, Huysman's "Against Nature," Kracauer,
Simmel, Patricia Spacks, Evelyn Waugh, J. G. Ballard, Brett Easton Ellis,
Wallace Shawn, Thomas Bernhard, and Adam Phillips.

497/8 G (Honors Senior Seminar/Senior Seminar)
TTh 10:30-12:20
Kaplan
(W)sydneyk@u.washington.edu
British Writing of the Nineteen Twenties. This seminar
will read a variety of works from this decade, ranging from its most
famous (and difficult) poem, The Waste Land, to one of
its favorite examples of popular fiction, The Inimitable Jeeves.
We’ll read fiction by Katherine Mansfield, Virginia Woolf, and Aldous
Huxley, as well as two notorious novels banned by the censors: D. H.
Lawrence’s Lady Chatterley’s Lover and Radcliffe Hall’s
The Well of Loneliness. Each student will be assigned an
additional “lost” or neglected book as a focus for individual research
and writing. Texts: Katherine Mansfield, The
Garden Party; T. S. Eliot, The Waste Land;
Virginia Woolf, Mrs. Dalloway; P. G. Wodehouse, The
Inimitable Jeeves; D. H. Lawrence, Lady Chatterley’s Lover;
Radcliffe Hall, The Well of Loneliness; Aldous Huxley,
Point Counter Point.

497/8 H (Honors
Senior Seminar/Senior Seminar)
TTh 11:30-1:20
Patterson
(W)mpat@u.washington.eduSuccess and Failure in the American City: Lily Bart
and Carrie Meeber. Published a few years apart, House of
Mirth and Sister Carrie are realist novels about two female heroines.
This course will focus on these two novels as a way to understand the
social, historical, and literary contexts from which they emerged.
In particular, we will look at the rise of the modern city, the changing
class and economic conditions for men and women at the time, and the
rise of realism as the predominant mode of writing. While we will
primarily be reading and rereading these novels, there will be corollary
texts, including sociology (Veblen on the leisure class), critical essays,
and theoretical works (Henri Lefebvre on urban spaces). By considering
only two literary texts, we will have the luxury to read them in depth
and to understand their connections to larger social and cultural systems.
Assignments will include in-class work, participation, and a long final
project. Texts: Edith Wharton, House of Mirth;
Carol Singley, Edith Wharton’s House of Mirth: A Casebook;
Theodore Dreiser, Sister Carrie; Thorstein Veblen, The
Theory of the Leisure Class.

497/8 I (Honors
Senior Seminar/Senior Seminar)
TTh 12:30-2:20
Coldewey
(W)jcjc@u.washington.eduMedieval to Renaissance English Literature: From Script
to Print, from Orality to Literacy. In this class we will be
examining English literature as it evolves out of the Middle Ages into
the Renaissance, and we will focus on two main cultural events: first,
the shift from orality to literacy that began taking place during the
Anglo Saxon period; and second, the invention of printing as an important
technological agent that supercharged textual production. Early English
texts are to an extraordinary degree both witnesses and children of their
own age, and as we consider how literary texts evolve out of an oral
to a literate culture, and out of a manuscript culture to a print culture,
the ground rules of textual production, dissemination, and consumption
themselves change. Coursework: Three quizzes (15%
each), class discussion (15%), a class presentation (15%), and a 7-11 page
paper (25%). 497: honors senior majors only; add codes in English
Advising office, A-2B PDL; 497: senior majors only. Texts:
Will include the following and perhaps others: Primary:
The Battle of Maldon; Sir Gawain and the Green Knight; Chaucer’s
Wife of Bath’s Prologue and Tale; Malory’s Morte
Darthur; various Sonnets from Petrarch to Shakespeare; The Wakefield
Second Shepherds’ Play; The York Play of the Crucifixion; Everyman;
Dr. Faustus. Secondary: Elizabeth
Eisenstein, The Printing Revolution in Early Modern Europe;.
Walter Ong, Orality and Literacy. Michael Camille, Image
on the Edge.

497/8 J (Honors
Senior Seminar/Senior Seminar)
TTh 1:30-3:20
Allen
(W)callen@u.washington.eduThe Power of Virginia Woolf. What makes Virginia
Woolf live on so vibrantly in the imaginations of others? Why
does she have such passionate fans? Movies are made about her;
plays refer to her even when they are not about her; actors dress as
she did and take to the road inone-woman shows. In this course
we’ll try to figure out why Woolf’s life and work have captured so many
contemporary readers. Is it her thoughts on war? On the
fluidity of gender and sexuality? On women as writers? On
the politics of class? Or is it her complicated life story, full
of successes, but also of anguish? We’ll read a selection of her
fiction, and autobiographical writing as well as some recent essays
and film tributes by those drawn to her work, her life, and her fascinating
reputation.